This is Vizler’s very first album review on this platform — there will be many more to come. For now, let’s focus on Mihney’s second album, or rather her first official album.
Since 2020, Mihney has been making a strong impression as solo rapper even though she started in 2015 by featuring in some other rap artist tracks but 2020 was the year we discovered her. Especially with frequent freestyles like BIG MAMI PT.1, which dropped in 2021. In 2022 she released TRANSITION, an eight-track project that felt like the start of something fresh — it was notable because female hip‑hop artists in Cameroon don’t often drop full projects. We’ll review TRANSITION later; for now, let’s focus on JUNGLE BUTTERFLY.
It’s true that to fully understand this project you should listen to TRANSITION — it isn’t necessary, but it helps to know where the evolution comes from. The first two tracks, “ButterflyTale” and “Big Energy,” introduce Mihney and her tale of progression. “ButterflyTale” samples Charlotte Mbango’s “Konkai Makossa” — a brilliantly produced Makossa/hip‑hop mix that pleasantly surprised me and makes for a strong opener. “Big Energy” follows with a raw lyrical vibe that showcases her drive; she’s making it clear she’s not stopping. “You Dan Hear” keeps a similar energy but reads more like a warning — a shot across the bow demanding attention.
Most of the tracks are produced by Gaiux OTD, who challenges Mihney across different atmospheres: he can place her on a hardcore beat then flip to a soulful Afrobeat production — “Just Like That” is a good example. This shows Mihney’s ability to move between genres at will. “Chak Me” leans into reggaeton, and she rides it beautifully.
My personal favorite is “Lowkey” featuring Vherse, produced by Kris Mike. I don’t know much about Vherse, but he handles the track well — his voice suits the melody perfectly. Mihney really shines here, and I also liked the inclusion of Kendrick Lamar’s monologue from To Pimp a Butterfly, which frames the butterfly metaphor in terms of artistic evolution. The link of the video below:
“Dem No Know,” produced by Stainz (who also features), is impressive — Reniss shines on the track, though I felt Mihney was slightly overshadowed. “BGPT” (Big Picture) is another story: here she develops her inner self more clearly, and JEJE stands out as well. Listening to it, you can feel she knows where she’s going musically — there’s definitely a bigger picture ahead.
Now, “CLV Pt.1” & “Pt.2” (C’est La Vie) are where Mihney started teasing the project. When the first “CLV Pt.1” video dropped, I noticed the rawness in her style and thought she might deliver a hardcore hip‑hop record — I was wrong. “CLV Pt.1,” featuring Mic Monsta, Fashion Dee and Freeboi, is an anthem: if people downgrade or insult her, it’s just part of life. “CLV Pt.2” is the stronger of the two — the women deliver bars across the board. Tilla Tafari is a hidden gem, Inna Money brings veteran presence, Bisenda is glamorous, and Cuukee is the lady on fire. Mihney doesn’t hold back either, throwing small jabs at haters. This is the link for the CLV Pt.2
“Upgrade,” with Mic Monsta, shows the power duo are still here and leveling up. “Nonchalant” brings a softer touch, while “Jealousy” offers a similar vibe at a different tempo.
On “Niang,” I wondered if Mihney could match the duo TROIS. Stormz’s production is technical; she does her thing, but at times it feels like a TROIS song featuring Mihney — their aggressiveness dominates, which I actually liked.
“Badlands” it Has that classic 2000’s reggaeton afro fusion in it feautred Crowns. Lastly, “This Side” brings back Fashion Dee with his mixed of francanglais and his Mboko vibe. The track is not that huge for a song that concludes an album but it is still a good song.
Overall, JUNGLE BUTTERFLY shows Mihney’s growth and versatility. There are moments where she’s slightly outshone by collaborators, but there are also tracks where she fully asserts herself and points toward a larger artistic vision. The Production is really on point, all the producers especially Gauix OTD which brings Mihney on another sphere musically.
